It's the bolder likes of 'In the Middle of the Night' and 'I Wish I Were' where she really leaves her mark, somewhere between Patti Smith and ghost of Edith Piaf. [June 20008, p.148]

The follow-up repeats the trick, scattering dreamy pop between industrial soundscapes. [July 2010, p. 129]

The results are largely impressive, particularly on the fragile country of Follow Me Down, but you can't help feeling that eventually Nap Eyes will need to look to more distant horizons to maintain everyone's interest. [Apr 2018, p.112]

Though probably not the best place for the uninitiated to start exploring the work of this often brilliant and evocative musician, at the same time, songs such as the aching South rank up there with his best. [Jul 2019, p.110]

There was nothing like "Demon Days" before and there's been nothing like it since. Until now.[...] Plastic Beach picks up several steps on from where its predecessor left off. [Apr 2010, p.104]

What makes Most Messed Up stand out is that Miller's self-aware enough to play with those cliches. [Aug 2014, p.112]

There's nothing that reeks of genius here, but there's enough to be getting on with. [Oct 2012, p.97]

I Don't Run often feels like a post-tour comedown, meandering and forlorn, where its predecessor was uplifting and catchy. [Jun 2018, p.110]

Though a little limited on variation, 6 Feet Beneath The Moon's careful balance between comedown cook and genuine emotion suggests a new king for both club kids and guitar vets has (finally) arisen. [Oct 2013, p.105]

Those raised on the Jayhawks' best Work Tomorrow The Green Grass and Hollywood Town Hall, will still go home satisfied. [Jun 2016, p.112]

Merrie Land works best when these sounds and visions come together in an impressionistic haze. [Dec 2018, p.109]

Emily Haines remains a commanding frontwoman, but where once she railed against war and consumerism, here she sticks to wishy-washy reflections on love and life. [Jun 2009, p.127]

A peerless comeback album that's as sad as it is uplifting. [Nov 2013, p.115]

This is an often astonishing record. [Feb 2015, p.112]

Happily, after nearly four decades, The Blue Aeroplanes can still bottle lightning. [Mar 2017, p.107]

It's remarkably poised, a level gaze that could give a little more away. [May 2019, p.111]

Compelling and masterful. [Sep 2020, p.113]

It's business as usual, but when business produces songs as lovely as November's sumptuous indie-pop it's hard to resist. [May 2020, p.110]

Butler's spacey sing-song tones skip across the muddy off-kilter beats, forging a sound that is both immediate and moreish. [Aug 2017, p.110]

Hitchcock continues on a roll, all 10 songs here hooking you in with the head-nodding grooves and dreamy psych-pop tunes of seasoned pro. [Apr 2013, p.103]

The Terror is dark and experimental, full of synths and loops that owe more to Krautrock than guitar bands. [May 2013, p.101]

A sweetly brain-scrambling experience. [Apr 2006, p.114]

It's good to have his unique groove back. [Jun 2006, p.116]

This is music that hovers at the edges of modern life, out of time but in its own glorious world. [Dec 2013, p.116]

Adams is such a contrary character you daren't use the phrase "career comeback," but that's what this is. [Oct 2014, p.101]

American Twilight is lifted above cliche, though, and works best when heading full pelt toward the horizon. [Apr 2013, p.98]

Eerie, exotic and utterly enchanting. [Mar 2002, p.116]

An all-conquering white female rap crew? It's been a long time coming and, on the strength of this debut, may be arriving sooner than you think. [Jun 2003, p.105]